March 2015 Comic Book Reviews

The Manhattan Projects: Volume 1
Jonathan Hickman
Image
Street: 10.14
In a shroud of mystery, The Manhattan Projects reveals itself to be a government cover-up, in which—rather than just atomic bombs—telepathy, robots, mythology and all manner of nonsense are used for weapons of mass destruction. I should also mention the deliciously cannibalistic fratricide committed by one Mr. Joseph Oppenheimer, the newest civilian head of The Manhattan Projects, posing as his aforementioned and digested twin brother, Robert Oppenheimer.  Additionally, Dr. Albrecht Einstein is being held captive by Nazis and has been commissioned for “Operation Paperclip.” Manhattan Projects is the flawless type of bat-shit-crazy-weird-science that starts by focusing on the alternate-reality ending of World War II. The Manhattan Projects first debuted in 2012. That being said, it’s hard to want to give a full disclosure, knowing that every several pages there are plot twists and “celebrity” appearances—and still somehow wanting it to be a newly discovered treasure for those fresh to the commitment of comic reading. Since its premise and writer Jonathan Hickman are not new introductions to the comic community, dissecting the plot is something of a moot point. The most “poetic” aspect of The Manhattan Projects is the brilliant coloring by Jodie Bellaire. Nick Pitarra’s illustrations are detailed and gritty in their composure, which could have been entirely lost if the wrong color scheme was splashed over them. Even with Bellaire’s mastery of balancing out Pitarra’s scenes, it’s hard not to wonder if it’s not actually a copy of Where’s Waldo? when casually flipping through the pages. Being a deluxe edition, I was slightly disappointed and confused by some of its “features,” the most annoying of which were quotes from more recent volumes. The quotes themselves weren’t annoying, but rather felt like wasted space between chapters, fillers with no purpose other than to remind their readers that they’ll likely be making more deluxe volumes. Black-and-white panels and sketches as well as a few colored panels are thrown into the last few pages. I would have preferred to see some cover art work, but ultimately, the biggest selling point for the deluxe version is going to be its hardcover appeal.  All complaints aside, I loved The Manhattan Projects and would recommend it to all. –Andrea Silva

Orphan Blade
Nicholas Almand
Oni Press
Street: 11.26.14
I’ve fallen more in love with Orphan Blade the second time through. Jake Myler (Fraggle Rock) and the late Nick Almand created a (mostly) all-ages action adventure comic with plenty of humor, and a positive LGBTQ* representation, and even better, there are kaiju. Manga-inspired and intense, it’s equal parts Paul Pope’s Battling Boy, Guillermo del Toro’s Pacific Rim and Katsuhiro Otomo’s Akira, a trifecta that makes this book intelligent and striking. Hadashi, our young protagonist, stumbles into possession of a powerful weapon and must help bring balance between man and monster in a battle that has raged through centuries. This book is a proud example that showcases the legacy of Almand, who passed away from cancer before the book was published. Knowing that the work will always have loose ends, it’s still wonderful as a contained story with a well fleshed-out world that feels familiar to many realms of manga but has a distinctive life of its own. Plus, Hadashi has an adorable love story. –Taylor Hoffman

Outcast Volume 1: Darkness Surrounds Him
Robert Kirkman
Image Comics
Street: 01.15
Outcast approaches demon possession from a less glamourized stance than is traditional in the entertainment world. No one is excited or willing to tackle the diabolic agency in such a head-on manner. Outcast takes very seriously its demonic murders, doing away with trigger-happy demon hunters. Instead, Robert Kirkman gives us Kyle Barnes and Reverend Anderson. Kyle has shut himself in from the world—snippets from his past reveal the supernatural severity surrounding him, starting as far back as his childhood and, more recently, his own wife. Reverend Anderson seeks his aid in a particularly tricky possession, which acts in some manner as an awakening for Kyle to finally confront his apparent ties to the unholy creatures and their sin. Elizabeth Breitweiser delivers beautifully toned pages that give the kick-in-the-heart emotional weight that Kirkman’s characters are experiencing.  When a detective approaches Kyle, off duty, asking for his help with his former partner, the pace changes and the first conflict element of the story’s arc is introduced. Kirkman trusts his readers, never giving straightforward facts about his characters. Everything the reader learns about events passed is based off the occasional straying line of dialogue, which helps create a sense of realism in the book. Even with levitating children, Kirkman’s storytelling is believable, staying outside of the extremes normally associated with possession and exorcism in order to maintain the “real world” feel. –Andrea Silva